A highly popular work, sometimes colloquially referred to as "Nininbaori" (a two-person comic act) in Japan. This work exists in three styles: "piano four hands," "piano and strings," and "piano and orchestra." This four-hand version is the work for which Rosenblatt received the Special Prize and the Mainichi Shimbun Prize at the 5th Composition Competition for Piano Duo Works (organized by the International Piano Duo Association), held in Japan from 1999 to 2000 (he did not visit Japan at that time). This work incorporates the melodies of the globally well-known Russian folk songs "Kalinka" and "Moscow Nights." These two themes are combined with a romantic flair, utilizing characteristics of Russian folk music akin to Stravinsky, alongside jazz-like rhythms and harmonic movements. In the final section, another Russian folk song, "Korobushka," builds to a climax with a "dissonant tremolo" roaring piu mosso. One should definitely witness the synchronization of two incredibly fast pianists, a strangely unified "concerto" where they become one without blending. In this way, Rosenblatt frequently uses unique chords throughout all his works, developing melodies that can be described as "Rosenblatt-esque" or having a "Rosenblatt accent." It can be said that he inherits the unique vigor of authentic Russian folk songs and translates that lineage into the language of Western music. Furthermore, this work employs several virtuosic techniques (which Rosenblatt calls "piano stunts") that allow the audience not only to listen but also to enjoy visually. This not only encompasses superb virtuoso technique but also offers an eye-catching brilliance that is highly valued by pianists planning concerts. While only possible with the condition of one piano and two pianists, it demonstrates high entertainment value.

Author's Comment

On the occasion of Rosenblatt's first visit to Japan on March 11, 2005, I proposed performing this work as a two-piano, eight-hand "double piano duo." Rosenblatt responded with "That's an interesting performance!" and we proceeded with it. However, it was not an eight-hand performance from beginning to end; the first half was played as one piano, four hands, and then Rosenblatt and others joined from the "Nininbaori" scene, culminating in an eight-hand performance at the climax. Based on this experience, I conducted a relay performance with 12 people on July 24, 2005. It is a unique work that expands the possibilities of the piano as an instrument, and it is also pleasingly relatively easy to play.